Studio Technologies 220 2004 - Manual (Page 26)

Model 220 User Guide Issue 2, August 2004
Studio Technologies, Inc. Page 27
of both the left and right channels. The
balance control, located on the right,
adjusts the relative left/right level bal-
ance. In this mode the controls operate
in a manner reminiscent of a consumer
audio amplifier or receiver. If set to the
normal mode, rotating the balance control
in the counterclockwise direction reduces
the level of the right channel providing
the user with more perceived level in the
left channel. If set to the reverse mode,
rotating the balance control in the coun-
terclockwise direction reduces the level
of the left channel providing the user with
more perceived level in the right channel.
When in the level/balance mode and the
minimum output level is set to –40 dB,
turning the level control to its fully coun-
terclockwise position will place both head-
phone output channels to 40 dB below
maximum. This ensures that talent will
never be fully “isolated” from potentially
important cue signals. In addition, rotating
the balance control to either its fully clock-
wise or fully counterclockwise position will
cause the applicable channel to be 40 dB
below its maximum. If set to the full mute
mode, turning the level control to its fully
counterclockwise position will cause both
the left and right channels to fully mute.
In addition, rotating the balance control
to either its fully clockwise or fully coun-
terclockwise position will cause the appli-
cable channel to fully mute.
Each control has a mechanical step
(detent) that is located at the halfway
(50%) position of its rotation range. The
balance control will typically be set to its
center, detent position, making the level
of the left and right channels equal. In an
ideal installation, the level control can also
be set to its detent position and provide a
comfortable headphone output level. This
will allow the user, in response to their
preference or a changing environment,
to adjust the level and balance controls
as desired. The detent positions will al-
ways remain as a useful reference point.
To achieve this condition the audio level
on the connected IFB circuit, or line in-
puts, must be adjusted as required.
Spending a few extra minutes “trimming”
the connected audio levels, rather than
just providing whatever happens to come
up, should prove worthwhile. The result
will be talent that is more relaxed, and
an overall production that works more
smoothly. As previously mentioned, a level
trim potentiometer is associated with each
line input. If the line inputs are utilized as
cue sources, adjusting the trim pots may
be helpful in achieving the desired adjust-
ment range of the level controls. Refer to
the Technical Notes section of this user
guide for details.
Advanced
Operation
Adjusting the Line Input
Trim Pots
As has been previously mentioned, as-
sociated with the line inputs are trim pots
that allow the input levels to be adjusted.
The two trim pots are accessible by way
of round openings in the bottom of the
Model 220’s enclosure. By adjusting these
trim pots, signals with a nominal signal
level of –12 dBV to +6 dBu can be effec-
tively used as cue sources. Unfortunately,
there are no definitive rules regarding
how best to adjust the trim pots, but some
suggestions may prove to be valuable.
Depending on how the line inputs are